This is not to forget the fact that we are also putting together collector's editions of BIG BANG COMICS.

In other words - I've been busy, on a learning curve and trying to make a living... sort of.

So I'm putting out the call for some help:

One of the projects I am assembling is basically a Pulp 2.0 Mediamaker's "Toolbox" - a book that collects all my essays from hell here in the blog, as well as material from the old Pulp 2.0 Electrogram. This book will be designed to be a useful reference and inspiration for the Pulp mediamaker - the filmmakers, cartoonists, designers, writers, screenwriters and others...

So I need you to send me your feedback on what posts definitely need to be in the book. What resources do you definitely want to see that you aren't getting from other books? I am a different kind of media bastard so I want this to be a different kind of book, one chock full of news you can use.

I'd also like you to send me any questions you have that need to be answered in this book.

Wednesday, December 01, 2010

Of particular interest is item #10 (which in my mind should be item #1 and be beaten into every film student's skull like the Phantom's ring). It reads:

Don’t look to be discovered. The film industry encourages a plantation or corporate hierarchy way of thinking, which again only benefits the status quo. This is most represented by the old way of bringing a film to market upon completion. The filmmakers who design their projects to take directly to their audiences will demonstrate a forward and practical way of thinking — and one that does not negate a later adoption of old methods (if someone wants to dump a pot of gold on you that is). Abandon the belief that all you have to do is make a good film and the rest will work out — it’s akin to a slave mentality. Why do you need someone to discover you? What you need is to find a way to keep producing new work.

This is the key to longevity in this business...

If there are an estimated 27,000 indie films produced every year and less than 600 get any sort of distribution then don't you think you need to think differently than the other guy? Don't you think you need to make sure your film gets to the right audience instead of leaving it up to the distributor to try and find them?

I'm telling you that you do need to think differently.

I'm telling you that your film probably isn't that special and could do with some "sprucing up." Most likely at the development stage where most productions go wrong.

I'm telling you that if you don't make it better, or if you leave it to the distributor to do then you are leaving money on the table as you walk away.

I'm telling you that you can do it yourself - it's not easy, but the rewards will go to you and your investors first instead of to the middleman.

I'm telling you this because I've worked (am working) for the distributors and production companies. They don't know anything you don't know or can't learn quickly.

But mostly, I am telling you to be passionate about what you do, and stand up for it because it will make all of the difference. It will make all the hard work, the frustration, the lawsuits and the angry phone calls and emails worth it. I speak from hard-fought experience.

Tuesday, November 30, 2010

There's a lot of controversy brewing regarding Frank Darabont's letting go of his writing staff for the new WALKING DEAD series....

You can read about that here. Tons of comments to bury yourself wade through.

One of the comments though struck a chord with this pulpster and I think it's important to share with you because it's the formula for making a great first movie or web series, and that's what we deal with here at the old pulp HQ.

Ladies and gentlemen, I present the independent, homespun wisdom of someone named Mark Georgeff:

"If people’s idea of a quality tv show is how great it is lit and looks, then we might as well shove the original TWILIGHT ZONE down the toilet.The really great tv shows, like movies, are great stories.What makes a great story is great characters in great scenes.

Majority of writers on the original TZ were short fiction writers and playwrights whom creator Rod Serling showed how to re structure their stories to fit 30 minute tv slot. A few act breaks for commercials round its down to actually 20 to 23 minute episodes.

Most were done on a studio sound stage…or exteriors on backlots or in mall towns. Having great-looking visuals or well lit scenes do not make any of those great TZ episodes stand out or stand the test of time. Since they were all in black and white anyway.

Majority of them also had a lot of unknown, but talented actors who loved to just act, as opposed to very hyped up and marketable stars.
And Serling gave them a shot.

He had a budget and stuck to it no matter what.
Which helped him focus strictly on the story.

God knows Serling made it a point for his most powerful stories about the human condition…to be done through subtext. Not overt at all.

Maybe Darabont should take a simple education from Serling…because from what I’ve seen so far…the WD is simply run of the mill.

No amount of bigger production budgets or simply going to freelancers is going to change this. Just find and / or train good writers. You can always get them a WGA card.